DVD Collectors Online

Hellboy, a review by Jon

Hellboy
4 out of 5



When a Nazi mystical experiment goes awry in 1944, the target of a wizard's spell, the child of Satan, Hellboy, is wrenched from his home, and adopted by the U.S. agents who intercept his arrival.

Hellboy is a wonderfully inventive and entertaining film, though it’s a hard sell and many novice viewers will be left scratching their heads. You have to “get” this film to have any chance of liking it! For me, I was familiar with the marvellous comics by Mike Mignola and he was heavily involved in the films development, so it’s all good.

It’s madder than a box of frogs and Guillermo Del Toro is the perfect director for something akin to Men In Black on drugs. It’s visually dazzling, but exciting too, as he is an accomplished action director. It’s more fantasy than anything else, but its tale of prophecies and demons makes it a bona fide horror too and Del Toro has a better understanding of classic horror than any other director working at the moment (one of his many upcoming films is a remake of Frankenstein).

The story is typical comic book stuff. The Nazi’s are messing with the occult and summon a demon. Unfortunately for them, said demon is a just a kid and is raised by the Government (specifically John Hurt’s kindly professor) as a member of a special task force to deal with paranormal. The problem is, Hellboy is part of a prophecy and his effective stone right hand is actually a key that could end the world!

Phew. What makes the film and comic so entertaining are the incredible characters, who are very human despite their appearance. The bruising unstoppable hulk that is Hellboy (Ron Perlman, having the time of his life), is actually a petulant, overgrown lovesick teenager, always in trouble with his “Dad” and pining after Selma Blair’s fiery (literally) Liz. It’s very much a sitcom at heart and it works very well indeed. So long as you are already on its wavelength! So the moment a corpse is resurrected to get directions and ends up in a hilarious argument with our hero will either be the moment you become a fully paid-up member of the Hellboy fan-club or you scream in frustration!

The villains are just as fantastic as the heroes, especially the clockwork assassin, and the ending is suitably serious, so far as something like this can be. The film is let down by concessions to making it marketable, such as the very human new-comer to the team (although the long-suffering boss is great). It’s a lazy plot device that hampers the film, but overall, it’s big and funny, just like its lead character.


(From Jon's Marathon of Horror! 2009 on November 1st, 2009)

A Single Man, a review by Jon

A Single Man ****
4 out of 5



I hadn't wanted to see A Single Man; it wasn't on my radar and the trailer hadn't struck me as anything particularly outstanding. Add to this occasional reviews of Tom Ford's film that suggested his fashion background had influenced his direction a little too much, and I wasn't convinced this would be a must see.

Then, on one of the podcasts from Simon Mayo and Mark Kermode, I heard a clip of Colin Firth's opening monologue. It was so simple and poignant that I suddenly had to see it. Firth plays George, a man still grieving for his partner Jim (Matthew Goode), killed in a car accident months before. Since then he has been trapped in melancholy and the film follows what is, as he says, "kind of a serious day for me". He'll reminisce with his closest friend, neurotic Charly (Julianne Moore) and be intrigued by a young student (Nicholas Hoult).

Now I'm not cynical enough to believe in the idea that some films are structured specifically to win awards, but it is true that studios are cynical enough to release certain types of films to attract the right attention. This year it seems a sure bet that Colin Firth will win many awards for his performance in The King's Speech and from all accounts, they will be richly deserved. I haven't seen the film yet, but from the trailer, regardless of how brilliant he is, it seems to be the sort of role that Oscar loves. What I can say with confidence is that his moving and superlative performance in A Single Man should have received as much if not more attention. What he delivers is incredibly moving, with an affecting simplicity that is gently stripped away to reveal a complex character in quiet turmoil. If you have any experience of grief, you won't fail to identify with the elegant opening scene especially; his voice draws you in following a dream sequence and never lets you go from then on. Nor would you want to be let go! It is all the more impressive that he is never off-screen, but for the most brief moments, yet the film never feels claustrophobic and almost seems effortless.

Julianne Moore also proves her substantial skill and at least Firth was nominated last year. That she wasn't recognised is criminal. It is a brief role, but again, a complex character and she bundles up a lifetime into her portrayal of Charly. Utterly superb and on a par with Boogie Nights, a film I find overrated except for her. We only see the versatile Matthew Goode (Watchmen, Cemetary Junction) in flashback as Jim and he too works wonders with less screen-time and the relationship between the two men feels absolutely genuine. Nicholas Hoult is also excellent as an unpredictable enigma that George can't dismiss. While his might be the thinnest role of the main characters to play, Hoult still finds depth and works it with the merest expression. Strange how we have Brits playing Brits, Brits playing Americans and Americans playing Brits! Regardless, it is a perfect cast.

Perhaps we should consider that the lean and focused screenplay, so beautifully written, is the common factor for all of them. From the very start to the final moment, it is meticulous and focused. While it never loses it's sombre tone, it has an undercurrent of optimism throughout. The sparse dialogue, entirely free of exposition, is cleverly bolstered by various sub-texts that reflect the story. For instance, it is set in 1962 Los Angeles and America is suffering from Cuban crisis paranoia that gently highlights George's unique perspective. And what of his sexuality? Clearly it is his relationship with men that defines him, yet thank goodness that it isn't an issue the film feels a responsibility to. It is simply who he is and nothing more.

Tom Ford, who also wrote the film (along with David Scearce) adapting Christopher Isherwood's novel, directs his debut with an assured style that contradicts his inexperience, aside from some loose editing. Unless, that is, you want to say it is too good and suggests little personality or interpretation, but that's cynical considering his clear understanding of such sensitive characters. Future projects might reveal more, but Ford's direction here perfectly supports this screenplay this time and he employs some beautiful motifs, such as boosting the colour whenever the sombre George finds something worth paying attention to. As whatever thing it was drifts from the scene, the colour drains a little with it. You might find it obvious, but there is no denying it works and the tone is faultless throughout. Actually a Spanish prostitute demonstrates it perfectly; Ford films him like a model and he seems just a touch overdone, but the ever consistent pace and especially Firth's dialogue in fluent and seamless Spanish puts the substance back in. The balance is never lost here or anywhere else.

I usually somehow forget to mention scores, but no danger here. The final element of this spellbinding film is the haunting theme from Abel Korzeniowski and it is quite wonderful. I've left the DVD menu on while I write this so it keeps playing! Even in a short loop, it's very effective.

I would urge anyone who likes a well told story to invest their time in A Single Man. It is an easy watch, but its substance will take a hold and for viewers of a certain perspective it might haunt you in a most convincing manner.

(From Jon's Random Reviews on February 12th, 2011)

Terminator: The Sarah Connor Chronicles: The Complete Second Season marathon, a review by goodguy

2x07 Brothers of Nablus
Synopsis:
My Rating:

I pretty much agree with Achim's comments and don't have a lot to add.

The real threat in this episode comes from Cromartie, whose reappearance I highly enjoyed.

Well, SkyNet did send Cromartie back to find and kill John Connor, so the synopsis isn't entirely wrong. I too enjoyed him being back in the game and especially those scenes with Jody were great. And nobody does sinister like Dillahunt does.

I also liked that Riley was back, even if she causes John to do foolish things.

...and it is shockingly funny how she [Cameron] deals with the robbers...

In retrospect, the Nablus story was a nice tip-off of what was going to happen.

Sarah at the same time as an unfittingly weak moment.

I wouldn't call it unfitting, on the contrary. As badass as she sometimes appears, she never has killed anyone, not even Dyson in T2. In fact, she is the only one who hasn't. John killed Sarkissian, Derek killed at least Andy Goode, even Jesse just killed Moishe (and in that was as ruthless as Cameron).

Ellison ... The lifting of this story line to a biblical level is a bit out whack and I am not sure what they are trying to say.

I'm not sure either. For Ellison, drawing on the bible is certainly not out of character and the comments from both Cromartie (SkyNet does not believe in you like I do) and Weaver (What good is faith if we don't use it) seem to enforce that. That he compares himself to Job and believes he is tested by God might be his hubris and actually lead him astray.



(From Terminator: The Sarah Connor Chronicles: The Complete Second Season marathon on February 5th, 2010)